Price: € 16.00
WWE 1CD 20231
Gerald Eckert
des Nichts
des Nichts, verlorene Schatten 15:19
l´etendue des fins eclats, eparse 12:58
erinnerte zeit, gebrochen 19:04
offen - fin des terres 16:24
Total Time 01:03:45
Gerald Eckert is not a musician only. This qualification alone would hardly enable him to compose the way he does. ...

Very early on he began to assemble his interest in physics and mathematics, as well as painting and architecture, around the music. He has created art located "in between the abstraction of mathematical and physical concepts and moments of a sensual, image-creating quality." (Matteo Nanni) In des Nichts, verlorene Schatten Eckert employs finely chiseled sounds that are perforated again and again. The resultant "rough" surface of the work in a way constitutes the inner dramaturgy of the composition. In l’étendue des fins éclats, éparse he seeks to "suspend the progress of time and the sound space," demanding repeatedly that the violinist comply with the direction "senza tempo" (timeless). erinnerte Zeit/gebrochen also deals with time, encompassing a sound reservoir ranging from lowest tones in microintervals to violent beats. And offen – fin des terres, for ensemble and electronics, addresses the notion of the end, with instruments and artificial sounds becoming extremely condensed towards the center, only to unfold again as the composition continues. All in all incredibly intense music that displays a great variety in sound and succumbs to no kind of order whatsoever.
The sound as the center of being: grown from silence, Feldman reaches the bounds of comprehensibility in Triadic Memories. 
Mauricio Kagel by himself: the composer, theater maker, filmmaker, virtuoso, writer of radio plays and, on the whole, all-round talent conducts his own works. 
A chamber music cosmos with a romantic key impulse: from the sunrise in Aurora to the lament for the dead in Threnos IV and the reawakened memory in Memorare
col legno